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  • Edi Hila. Painter of Transformation
    24 May - 29 July 2018

    National Gallery of Arts, Tirana Edi Hila. Painter of Transformation 25/05 –  29/07/2018 Curators: Kathrin Rhomberg, Erzen Shkololli, Joanna Mytkowska Loans by Kontakt: Edi Hila: 5 paintings of the series "A tent on the roof of a car" (K712-K716) 18 drawings of the series "The Poultry" (K694-K711) The National Gallery of Arts presents the first retrospective exhibition of Edi Hila in Albania. Edi Hila was born in Shkodra in 1944. He lives and works in Tirana. In addition to his artistic practice, Hila is an influential teacher associated with the University of Arts in Tirana. Educated in Shkodra, a city with ancient beginnings, Hila experimented with forms that ran counter to the realist aesthetics propagated during his studies in the 1960s. In 1972 he painted Planting of Trees, a pleasant picture rendered slightly unreal through the use of color, which because of its departure from the approved socialist realist doctrine, soon became a pretext for ordering him to work in a factory as punishment. But before the communist authorities took offence and doomed his chances for practicing art, he briefly visited Florence in 1973, where he was sent as a promising artist and scenographer for Albanian television. Contact with the Florentine museums and Renaissance painting had a huge impact on Hila. For his departure from socialist realism, Hila was sent to work for three years at a poultry plant where his main task was hauling sacks. In the evenings of 1975-1976 he secretly created a series of drawings called “Poultry”, documenting the life of the workers and harrowing in their raw realism. In the 1990s, seeking a path back to painting, Hila carefully observed life evolving after the fall of the communist regime and tried to depict the realities of the Albanian transformation. The groundbreaking series “Comfort” (1997) captures the insatiable consumer utopia promised to the society. Hila created the series in response to the dramatic crisis caused by the collapse of financial pyramid schemes,which drove the country into chaos. Hila primarily works in series treating a selected theme over several paintings. The most important of Hila’s series include “Paradox” (2000–2005), “Relations” (2002–2014), “Threat” (2003–2009), “Roadside Objects” (2007–2010), “Penthouses” (2013), “Martyrs of the Nation Boulevard” (2015) and “Tent on the Roof of a Car” (2017). The realism of his painting is distinct, based on careful observation of detail, which he exploits to convey the psychological truth of the observed phenomenon. Hila carefully selects the themes for his painting series. In his version, this strips the transformation in Eastern Europe of accident or adventure typical of many presentations of this time, and gives it the weight of distilled general truths, as if he were its final chronicler. One of the reasons for such radical reduction may be Hila’s leaning toward classicism, a fascination with Renaissance sources of painting. It is as if modernism has evaporated from his field of interest. This is why the transformation, in collision with the classical tradition of painting and balance understood in the distant spirit of the Renaissance, conveys so clearly the disruption and attack on harmony and order in Hila’s work. On the other hand, it is rooted in human dilemmas that are hard to conceal, even with a veneer of modernization. Exhibition architecture: Büro Meyer-Grohbrügge A joint project of the National Gallery of Arts in Albania, the Museum of Modern Art in Warsaw and Kontakt Collection in Vienna.

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Mladen Stilinović

The artistic practice of Mladen Stilinović, one of the founders and the liveliest protagonists of conceptual art in Croatia and the region, may be presented by using the key words, i.e. words that introduce the core problem and the procedures that the artist used: language, ideology, manipulation, appropriation, correction, irony, installation, decontextualisation, exploitation, repetition, tautology...

Whereas all the existing words in Stilinović's well-known “Dictionary – Pain“ (2000-2003) have been crossed out white and changed into one and the same word of unique meaning – pain – in a potential “imperatival dictionary” some words could easily change places and the structure without the change of meaning.

The open structure and the apparent incompleteness have been constants of the artist’s work since the very beginning. In the late 1960s, Stilinović appeared in the medium of experimental film, and in the early 1970s he stabilized in the area of visual arts. He experimented with two ideologies and aesthetics, the West and the East, Marcel Duchamp and Kazimir Malevich, as their characteristic poles, his opus balancing between deadly seriousness and ironic ridicule, conscious mystification and ruthless exploitation of dead aesthetics and ideologies.

Even when completed cycles are concerned, such as the commonly quoted cycle “Exploitation of the Dead” (1984-1989), there always seems to remain the sense of immediacy, temporality, the possibility of rearranging and upgrading.

Fragmentation, crushedness, fragmented visions are among the basic features of Stilinović’s work that perfectly represent his installation rooms, such as "Red-pink."

N.B.

1947, Beograd / RS, at that time Jugoslavija – 2016, Pula / HR

Stilinović was, together with his brother Sven Stilinović, Fedor Vučemilović, Boris Demur, Vlado Martek, and Željko Jerman, a member of the “Group of Six Authors” in Zagreb (Croatia) from 1975 to 1979. His works include collages, photographs, artist's books, paintings, installations, actions, films and video.


 

Please follow this link for a selected bibliography available at the ERSTE Foundation Library
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  • Photo: Adam Savoky
  • Photo: Adam Savoky




  • Photo: Adam Savoky

  • Photo: Adam Savoky